Get Musically Tuned!

Menu

Tag Archives: Anvita Dutt

Anshai Lal’s directorial debut is under Clean Slate Films, a production house by Anushka Sharma and her brother Karnesh Sharma. It stars Anushka Sharma, Diljit Dosanjh, Suraj Sharma and Mehreen Pirzada.

1. Dum Dum / Dum Dum (Punjabi Version) / Dum Dum (Reprise) – Singers: Romy, Vivek Hariharan / Diljit Dosanjh; Music: Shashwat Sachdev; Lyrics: Anvita Dutt / Shellee – Romy spell bounds with his Shahid Mallya sounding vocals, deeply rooted in Punjabi folk. Shashwat makes sure that the song doesn’t become one of the many Punjabi melodies and remains unique. He achieves that through a particular style of using percussion. Vivek makes a cameo and leaves a mark of his own. Shashwat has quite cleverly blended the folk and classical element into his composition. Anvita’s lyrics does complete justice to ensure the metaphorical yet rooted mood of the song.The Punjabi version doesn’t have much of a difference in arrangements. The difference is basically in the lyrics written by Shellee. Reprise in Diljit’s voice is equally good and refreshing.

2. What’s Up – Singers: Mika Singh, Jasleen Royal; Music: Jasleen Royal; Lyrics: Aditya Sharma – Jasleen enters the scene with a typical Mika track which when starts sounds exactly like the latest Cutie Pie from Ae Dil Hai Mushkil. Considering that the song doesn’t belong to Jasleen’s comfort zone, she does quite an impressive job. The notes are significantly catchy and Mika surprisingly justifies the lyrics quite well. The lyrics is out and out Punjabi and goes totally well with the composition.

3. Naughty Billo – Singers: Diljit Dosanjh, Nakash Aziz, Shilpi Paul; Music: Shashwat Sachdev; Lyrics: Anvita Dutt –The way it transits from sounding raw to landing on EDM makes it quite exciting. The beats are well programmed giving emphasis on exact words. Shashwat is able to manage the ensemble of three singers, each complimenting one another. The ending could have been better compared to the clever start. Anvita’s lyrics doesn’t seem to have much a role but she really seems aware of the beats and cleverly put those words accordingly. Catchy.

4. Sahiba – Singers: Romy, Pawni Pandey; Music: Shashwat Sachdev; Lyrics: Anvita Dutt – The song that was featured in the trailer is actually the best song of the album. A very interesting build up has been given in the mukhda for the line sahiba. It is this song where Anvita’s writing is noticeable. Pawni has a very short portion but she totally nails it and shows her versatility after Laila. But the show stealer is Romy. The way he has managed to sing such varied sounding portions of the song, it’s remarkable. His vocals do complete justice. This composition is so well arranged and unusually structured that one has a natural curiosity to hear it again. Well done Shashwat!

5. Bajaake Tumba – Singers: Romy, Shehnaz Akhtar; Music: Shashwat Sachdev; Lyrics: Anvita Dutt – By now, it’s safe to assume that Romy must be the voice of Diljit in the film. Such varied notes in the mukhda enthralls you and the way he carries those notes with such ease is something to listen for. The song is more lyric-oriented. There’s a narrative element to it which Anvita has written so authentically and Shashwat has carried the song with those arrangements that you feel a part of that rural environment.

6. Dil Shagna Da – Singer: Jasleen Royal; Music: Jasleen Royal; Lyrics: Neeraj Rajawat – Falling in her comfort zone, Jasleen seems to have fallen short this time with not-so-adorable composition. The kind of a tune she chose to have, she should have added some interesting elements to avoid being monotonous. The tune is indeed likable but not something to fall for.

With Phillauri, Shashwat Sachdev is going to be the next most promising composer.

Vikas Bahl after his directorial Queen which won accolades, is returning with Shaandaar starring Alia Bhatt and Shahid Kapoor. The film has been backed by Dharma along with Phantom so it is being looked forward to. Music is given by the Phantom’s favorite Amit Trivedi.

1. Shaam Shaandaar – Singer: Amit Trivedi – Starts with a typical way of Dhol playing, and fluidly switching over the grand Trumpets lavishly arranged are unfortunately very few of the elements that are to be looked forward to. After a grand introduction, Trivedi gets into his comfortable zone, not letting any experimentation disturb the comfort. Amitabh too plays safe here, not getting into too much of quirkiness, rather using ordinary description of this grand evening. It is shaandaar indeed. But it is just that!

2. Gulaabo – Singers: Vishal Dadlani, Anusha Mani; Guest Lyricist: Anvita Dutt – Vishal and Anusha nail this one with their vocals full of zest at their best. Amit’s obsession to Brass always works in his favor. In this song particularly, he plays with the instruments amusingly, bouncing them, halting them, and utilizing their sounds with winning arrangements on which Anvita’s quirkiness doubles the madness. Cucking frazy!

3. Nazdeekiyaan – Singers: Nikhil Paul George, Neeti Mohan – The grandeur of romance, when you present the romance in a glorifying yet matured manner. Amit somewhat pulls out the best of the arrangements, getting into the dreamy texture with brilliant orchestration where Neeti Mohan amazingly justifies the song’s demand, and Nikhil, though sounding odd at places, manages to captivate. Though it is felt at few places that the other Nikhil, the D’Souza one would have been more suitable. Amitabh’s lyrics start spreading its fragrance when you are done awing the melody, the arrangements and the singing. Simply Ecstatic! #WelcomeSong

4. Senti Wali Mental – Singers: Arijit Singh, Neeti Mohan, Swanand Kirkire, Amit Trivedi – A 9-minute qawwali which stands out basically for the wacky lyrics by Amitabh, creating an amusing fight between two groups of males and females, as the system of traditional qawwalis have always been. Arijit, Neeti and Swanand Kirkire make it work effectively with Amit Trivedi not having a specific role, not only as a singer but also as a composer as the song is lyric oriented, though using folk arrangements till a point is quite impressive. Entertaining!

5. Raitaa Phailgaya – Singer: Divya Kumar – Amit, when has to compose an out and out commercial track, either spoils it or ignites it, but never enters into mediocrity, rather prefers to go to the extremes. Surprisingly this track is so un-Amit as it is filled with ordinariness, nothing special, just the normal beats and decent arrangements with just Divya Kumar’s enjoyable singing and Amitabh’s creative writing that saves this song somehow. A line deserves a mention Gulzar ke geeton mein jab Yo Yo Honey Singh ghus gaya, toh raitaa phailgaya!

With the help of lyricists Amitabh Bhattacharya and Anvita Dutt, Amit Trivedi manages to pull out an impressive soundtrack.

October is the Vishal-Shekhar month in the music calender. Just after Happy New Year it’s time for Bang Bang. Vishal-Shekhar have been associated with Siddharth Anand for more than four films now. Every album from Salaam Namaste to Anjaana Anjaani, their music have hugely grown under his direction. The songs of his films seems to have a lot of director’s involvement. Now, unlike the other four films, Bang Bang is out and out action flick, a remake of the Hollywood film Knight And Day, so it’s obvious that it would be having lesser scope of music as compared to his previous films.

Just because of its stereotypical haphazard structure and the hurry to reach to the hook line as soon as possible, this song is a big problem who want something different from such a grand song. Vishal seems to be obsessed with the hook line, rendering the rest of the stuffs in a formality. Lyrics by Vishal have some words that we witness in a daily average Bollywood song. This tune also seems to be of Vishal. It doesn’t have any evidence of Shekhar. The beats are cool and energetic enough to make Hrithik crazily dance on screen but this glamorous sounding melody is hollow from inside.

If Tu Meri is a Vishal’s creation, Meherbaan is definitely a Shekhar’s imagination. The song is mainly based on the Guitar arrangements and not the ordinary arrangements I must tell you. This song witnesses one of the best arrangements in this year. Ash King is fabulous with his silky vocals, mostly adding the classy texture to the song. Shilpa’s vocals have been echoed too much which is resulting in losing her originality. She sounds good though not her own. Vishal, with the seductive catchy backing vocals is phenomenal. It is the similar tune which has been used in the first two lines of both the antara but the way he croons it, is outstanding. Anvita’s thoughtful romantic lyrics adds a perfect charm to the track. The words have been awesomely coordinated with arrangements for instance the sound similar to what we hear in religious centers, namely in a mosque just when she pronounces the word mazhab. I guess Kumaar has only written Shekhar’s line which has involved the Daphli and Nagaada.Shekhar’s Reprise is actually a true unplugged with just a Guitar, sounding more like a cover than a film song. He is excellent in that too. Experimentation done smoothly by keeping it soothing enough for all. #WelcomeSong

3. Uff – Singers: Harshdeep Kaur, Benny Dayal; Lyrics: Anvita Dutt

This is one of those songs that instantly make you feel happy and alive. The rhythm section in Humko na khabar is wonderfully created. Harshdeep’s vocals in this particular track surmounts her all the previous songs. Choosing Harshdeep in this kind of track is itself a complex decision but whatever Vishal-Shekhar would have imagined, it has come out quite well. Benny is decent in his parts. Lyrics also draw enough attention as Anvita has written about the confusion of post-love humko kya khabar, kab kaise aaya woh. This fun romantic number will be liked by the younger lot.

4. Bang Bang – Singers: Benny Dayal, Neeti Mohan; Lyrics: Anvita Dutt

The composers seem to have purposely tried making it sound like a Classic English Pop track. The theme track which they used to have in films like Top Gun etc, had quite similar sound in them. Benny and Neeti Mohan are the prefect choices as their vocals have actually brought that old classic flavor. Lyrics do not have much scope as the whole thing has to be focused on just the title Bang Bang. Rhythm is very likable and authentic for this sound. A good action theme track though very unattractive.

Neither too much of glamour, nor too much of experimentation. Vishal-Shekhar get a safe landing.

When I say Raghu Dixit, you all know whom I am talking about, inspite of his belonging from Non-Film music. Yes, everybody knows him because he has established his own independent identity. His famous Raghu Dixit Project gained worldwide popularity. He has recently won his first GIMA (Global Indian Music Awards) for Best Live Performer. After making huge fan following in the Indie world, he is all set to make everyone fell in love with his Bollywood tunes. He debuted as a film composer in a a Kannada film Psycho though his Bollywood debut was with YRF’s minor banner Y Films in Mujhse Fraaandship Karoge, directed by Nupur Asthana, who has again collaborated with Raghu in Bewakoofiyaan, now under the real YRF.

(Note: A single of Ayushmann Khurrana, O Heeriye released by YRF some months back, has been included in this soundtrack as a bonus track).

It’s a song written with high self esteem. Benny Dayal, who is like a king of club songs these days, though I won’t consider it as a club song, has sung with high energy and great enthusiasm. The pitch of the song is quite high and difficult to sing. But he has managed the whole song perfectly. It has 3 stanzas of same notes. Nagada that has been used in last two stanzas and not in the first one, adds some extra energy to the song. Not the same repetitive words but meaningful lyrics by Anvita. Although Aditi Singh Sharma has been mentioned as the singer, you won’t be able to listen her voice just because Benny’s vocals have fully captured the song. A Benny Dayal show!

Starts with Neeti’s music-less vocals which sounds beautiful and gives the feeling as if something amazing would be there in the song. And yes, this song is full of amazing-ness. The rockstar is the Flute. It has been played in an amusing way just as it has been played in the song You’re My love (Partner). It did give me a slight 90’s touch and to be precise, Rahmanian 90’s where songs like Humma Humma used to made. That line Har story ki main teri heroine hoon, har story ki main teri happy ending hoon is a game changer. Lyrically, it is the most attractive part in the song. Also, Neeti Mohan has sung it with her adorable adaa. Also, it is the tune of that very line which made me hear the 90’s sound and the same line which musically sounds fresh too. That’s some of the specialities of that line. Ayushmann is always good behind the mic. Thanks to Habib Faisal for writing the line which I ve mentioned. The line which made me, and hopefully you, sing along all the time after listening. #WelcomeSong

3. Bewakoofiyaan – Singer: Raghu Dixit; Lyrics: Anvita Dutt

This must be the most innovative title track ever! Although the starting notes resemble a bit with the line Khushnuma awaara sa, besabar bechara sa lamha tha of the song Lamha Yeh Jaayega Kahaan from Dil Dosti Etc but as it moves forward, it brings the much needed freshness to your ears. The rhythmic drums with steady Guitar strums makes it a nice foot-tapping track. But if you are still getting bored with this unusual sound, Raghu Dixit has a very unique thing for you all. That is, BewakooOOOfiyaan. His extra ooo‘s authenticates and justifies the title of the song and the film. It was truly unexpected but it surely satisfies its listeners. Listen to it for those OOO, a kind of vocal sound that was never heard before. (Note: It’s not a Yodling sound).

It was about to be a typical Rom-com song but Raghu Dixit seems to have firmly decided not to include any typicality of any genre or style and therefore has added and modified it too. The brighter Shreya Ghoshal sounded, the duller Mohit Chauhan’s vocals performed. It has catchy tunes that other songs lacked and also sounded as fresh as others. Not any applauding tune but the way the Guitar has been played, is really beautiful. Shreya’s vocals showed their immense brightness in the hook line Rumaani sa, rumaani si and that line is the best part in the song which has capability to get the listeners attracted, and made the song to be played on loop. Mohit Chauhan could have shown more enthusiasm. A track to love, for a limited time period.

5. Aye Jigida – Singer: Vishal Dadlani; Lyrics: Anvita Dutt

If it doesn’t suit in this fantastic soundtrack, it will surely look perfect in the film. The only situation-oriented track which offers nice instrumentation with Banjo supporting throughout the song faithfully. Choosing Vishal, if for the situation perspective, I would applaud, but if as for a commercial aspect, then Vishal’s vocals completely failed to yield the interest of the listeners. After listening to the above awesomeness, it would surely bore you after a certain time. Although it failed to do an impressive job in the soundtrack, I have complete faith in it that it will be liked by people while watching the movie. A one time listen track!

Ends abruptly, starts abruptly, and above all, it has been included abruptly in the soundtrack. It’s a Single released by YRF last year in September featuring Ayushmann. I hadn’t liked the song that time. So, ofcourse, I don’t like it today also. It’s a Punjabi pop ballad which has some annoying sounds of instruments specially Electric Guitar after the line Yeh Gal Tu Maan Vich Basaa. I liked Ayushmann’s vocals though. It was not a hit at the time when it was released. It wasn’t even noticed properly and that’s why they included it as a film track to popularize it. But they have to accept that the track has nothing in it to get popularity. It’s a below average composition. A disappointing effort after their gorgeous Paani Da Rang and beautiful Saadi Gali Aaja.

Bewakoofiyaanhas brought back Raghu Dixit to mainstream film music and Raghu Dixit has brought his own sound and introduced it decoratively to Bollywood.Gulcharrey is catchy and lyrically innovative, Anvita Dutt’s one of the best works. I select Khamakha as the best of the album as it has the power to make its listeners croon the tune all the time after listening to just once. Habib Faisal’s lyrics has a big role in that. Title track is highly innovative and its OOO is incredibly attractive and applauding. Rumaani Sa is a typical lovable foot tapping melody with a tinge of Raghu Dixit’s sound. Aye Jigida has to be the weakest track though it has been composed and written well but it is limited to the movie and not a soundtrack-friendly. The additional track, out of nowhere, has been added in the soundtrack just to make it reach to more listeners. But it’s a big let down. All I hope for next time is that Ayushmann and Rochak Kohli compose some fresh sounding melodies and not just the repeating stuffs.

Hasee Toh Phasee already creating buzz, Phantom Productions has one more lined up for February, Queen. Starring Kangana Ranaut, this movie looks damn promising from its trailer and song promos. Their favorite composer Amit Trivedi has again done the work after the critically acclaimed Lootera which got huge appreciation for its music. But a thing to imagine is that how the lyrics department is governed by Dharma freak Anvita Dutt. The kind of production house it is, the kind of movie it looks and the composer which they have used, Amitabh Bhattacharya would have been the perfect choice. While I was thinking all this, I started listening the songs.

When Amit Trivedi goes into the Punjabi zone, his songs never creates the loudness that every Punjabi dance song does. That’s what makes his Punjabi song very different from others. It starts with an amazing Banjo which has been played like a Tumbi just as in Gal Mitthi Mitthi.Labh Janjua has sung it effortlessly with Kakkar sisters supporting his vocals smoothly. The song goes in the Navrai Majhi zone in the antara after the interlude which is filled with a Mandolin-like sound. The song didn’t need any more loudness and it sounds perfect for the purpose it is made. The tune could have been more melodious like in the case of Navrai Majhi which had a very cute tune attached to it. Dhol has been used in the mukhda only and the rest of the song has bass filled beats. Boring, the first time. Nice, the second time. Good, the third time.

The composer clasps the mike here with his vibrator-like vocals and sings in his old recumbent style. He has chosen the brass section to start the song and has come up with Horns but soon showed his typicality by composing a tune which has a poignant effect in hook line. The interlude and the antara has been created in the Dev D way by using a beautiful Sitar poring out a classical raga with the Rock Guitars. Anvita Dutt has written the lyrics in accordance with the composer. She has written a kind of lyrics that are used in Classical Ragas. Boring for many, interesting for some.

Just as he never gets the loudness part in his Pujabi tracks, his party ones too do not have a very loud sound. The party girl Shefali has sung it amazingly with Nikhil D’Souza aptly supporting him only in the bridge that connects to the mukhda. Instead of using any other instrument in this song, he has fully used the techno sounds which has made the track a good foot tapping one. The tune has a supine texture which could have been more curvy thought it has sounded nice. The chorus seemed to be quite weak here. Arrangement has been perfectly done to overcome the blandly composed tune. All thanks to the singers for making this dull track into a party one.

Recently S-E-L used Arijit Singh in their latest album and now he has also sung an Amit Trivedi’s tune completing his collaboration with almost every big composer leaving only the biggest AR Rahman. It’s a very childlike track as of some children film having a catchy mukhda and hook line with amazing Rock Guitars and the strong backing vocals supporting Arijit as well as the song quite well. Anvita Dutt’s lyrics are cute, nice and good for lip-sync. But Amit is never satisfied with the catchy thing. Since, the tune has become catchy, he has experimented it by changing the scale in a drastic way in the antara and also the mukhda part that comes after the antara. They have been changed so abruptly, that it sounds odd, specially the change after the antara.A lovable sing-along childlike tune.

When I read the name, I though it is again a remake of the folk Punjabi song Jugni. But it turned out to be something better and exciting. Starts with a Banjo shyly supported by Violin orchestra for a very short time and Guitar takes over the responsibility. This track about freedom is written beautifully and has a cliche Amit Trivedi style of composition. The thing is that you can’t blame the tune for not being fresh. The tune is pure and invigorating but it is the sound that has somewhat similar pattern which Amit has used in Udaan. The subah subah subah part is quite similar to ujla savera partin Meethi Boliyaan from Kai Po Che! His voice is perfectly suited for these kind of songs. Here also, the chorus/backing vocals have been used brilliantly. For them who loves Amit Trivedi’s sound.

Starting with Dotara and also using it in the whole song so well, that makes this composer special and that makes it The song of the soundtrack. Right from the starting, it produces so many amazing sounds at the same time and creates a beautiful engaging vibe all around. A haunting effect has been given as the hook line arrives after which some percussive sounds have been used. The interlude drives you to the rendezvous with the Trumpet and other sounds that force you to pay attention. Backing vocals are again brilliant and should have been credited too. Nandini Srikar’s vocals do not need any instrument to beautify it, be it Bhare Naina or Duaa. Her vocals have that haunting texture that the song needed. This is surely Anvita Dutt’s best work. Even I can’t imagine that she can write with such brilliance. The only song with a good melody. A melody for all. #WelcomeSong

It brings back the memories of Shikaayatein but lacks in the melody department. It’s all about Mohan Kanan. What an impressive singing he has done! His vocals add a new life to the song. His vocals are capable of doing the lead and the backing both. Besides Mohan Kanan, the elements which made this song superb are Sitar and Trumpet. Trumpet is used more in the interlude with quite a cool gesture pushing Sitar from behind at appropriate timing. Near the end, Electric Guitar and Drums take over the place and manage to end it effectually. If you loved Shikaayatein do listen to this.

A new singer debuts with this song Rupesh Kumar Ram, singing a song with synth background and zero rhythm effect. The tune is beautifully composed by the singer himselg and is quite simple and catchy. He has quite amazingly turned the texture of this experimental soundtrack and has managed to reveal his own identity in his composition leaving the Amit Trivedi effect that was prevailing in rest of the songs. And that’s what he did right. It’s a peaceful short duration melody with cute tune and simple lyrics. A simplistic end of an experimental soundtrack.

Queen is a typical Amit Trivedi album. He has used the his old style of composition and some similar sounds that he has already used in his previous albums. He has decorated the album by using the instruments beautifully. As the sounds he used are not fresh, but the instruments have been used with brilliant experimentation and techniques. The arrangement of backing vocals and the instruments have been done excellently and that’s why it emerges out to be a good competitive album. Otherwise, in spite of all this, the album fells short of good melodies. Harjaiyaan and Ranjha were the only tracks filled with good melody. Through Ranjha, we got to heard a melody from a new composer and that made the soundtrack more refreshing. Rest of them are sounding good just because of the technical efforts done in them. This marks Anvita Dutt’s best work till date. I hope she continues to write such meaningful lyrics. A soundtrack that lacks melody but turns out to be good because of brilliant instrumentation. A soundtrack that is felt to be better and better each time you listen to it.